Category Archives: Women in Film

Now in Theaters! ‘OFFICIAL COMPETITION’ is sheer perfection.

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PRESENTS

OFFICIAL COMPETITION

Turning a Nobel Prize-winning novel into a movie on the whim of a millionaire, “it” director Lola Cuevas pairs two different kinds of actors to breathe life into her version of the story. What could go wrong casting a serious leading actor with a box office action star? Only everything, of course. If you’ve ever been through the rehearsal process with a director that is secure in their vision, Official Competition is for you. The film is a masterclass in writing and acting. It encompasses all the temperamental moments in the history of cinematic genius.

Oscar Martinez plays Ivan will a cultured legitimacy that feels elevated. He has a pedigree and air that is unmatched. His humble passion is so overblown you’ll give him a standing ovation while rolling your eyes. Antonio Banderas plays Felix with a Blockbuster pretty boy carelessness that is so familiar it’s brilliant. He is every cliché wrapped in a bow. Banderas brings a hot-tempered and diva nature to Felix. Almost play acting against Martinez, the evolution of their chemistry is like a tennis match. Each man absorbs traits from the other.

Penélope Cruz is eccentric director Lola. Her commitment to this character is extraordinary. The interactions between Lola and her leading men will have you smirking. The script allows her to push boundaries that challenge her fellow actors and the audience’s comfort. It’s another role that tops the last. She’s cheeky, powerful, unapologetic, and completely unconventional. Cruz gives her best performance to date.

These three astonishingly talented actors epitomize the industry. Mariano Cohn and Gastón Duprat explore the sheer absurdity of Hollywood. The cinematography is unforgettable. In many instances, our leads speak directly into the camera. Breaking the fourth wall is equal parts intrusive and entrancing. Official Competition might be the most extraordinary industry farce I’ve ever experienced. Making an award-worthy film while simultaneously acknowledging that awards are meaningless is a stroke of genius. It’s a wild meta joyride.

ONLY IN THEATERS JUNE 17, 2022  

DIRECTED BY Mariano Cohn and Gastón Duprat

WRITTEN BY Mariano Cohn, Andrés Duprat and Gastón Duprat

STARRING Penélope Cruz, Antonio Banderas, and Oscar Martínez

ABOUT THE DIRECTORS

Gastón Duprat (December 8, 1969, Bahía Blanca – Argentina) and Mariano Cohn (December 1, 1975, Villa Ballester – Buenos Aires, Argentina) have directed ten films including the successful “The Man Next Door,” “The Distinguished Citizen,” “Todo sobre el asado,” “My Masterpiece,” and “4×4” which competed in the most important international film festivals garnered with more than thirty international awards, including a Goya, the Platinum and the Ariel for Best Ibero-American Film. “Official Competition” is his latest, and highly anticipated feature film.

NEW YORK THEATERS

ALAMO DRAFTHOUSE MANHATTAN 14

 28 Liberty Street, Suite SC301 | New York, NY 10005

AMC LINCOLN SQUARE

 1998 Broadway | New York, NY 10023

AMC EMPIRE 25 THEATERS

 234 W 42nd St | New York, NY 10036

BAM ROSE CINEMAS

30 Lafayette Ave | Brooklyn, NY 11217

IFC CENTER

323 6th Ave | New York, NY 10014

STORY SCREEN / BEACON THEATER

445 Main St |Beacon, NY 12508

BELLMORE PLAYHOUSE

525 Bedford Ave | Bellmore, NY 11710

NEW CITY CINEMAS

202 S Main St | New City, NY 10956

STARR THEATRE – RHINEBECK

6415 Montgomery St | Rhinebeck, NY 12572

SAG HARBOUR CINEMAS

90 Main St | Sag Harbor, NY 11963

CINEMAPOLIS

120 E Green St | Ithaca, NY 14850

TIME & SPACE LIMITED HUDSON

434 Columbia St | Hudson, NY 12534

MOUNTAIN CINEMA

7971 Main St, Hunter, NY 12442

SPECTRUM 8 THEATERS

290 Delaware Ave, Albany, NY 12209

PICTUREHOUSE

175 Wolfs Ln | Village of Pelham, NY 10803

WESTHAMPTON BEACH PERFORMING ARTS CENTER

76 Main St | Westhampton Beach, NY 11978

CONNECTICUT THEATERS

AVON THEATRE FILM CENTER

272 Bedford St | Stamford, CT 06901

CRITERION CINEMAS NEW HAVEN 9

 86 Temple St | New Haven, CT 06510

NEW JERSEY THEATER

CLAIRIDGE CINEMAS

 486 Bloomfield Ave | Montclair, NJ 07042

114 MIN / SPANISH / COLOR

#IFCFilms

#OfficialCompetitionMovie

The original version of this review appeared on AWFJ.org. To see more reactions to the Official Competition from the amazing members Click Here!

Tribeca Film Festival 2022 review: ‘Next Exit’ is a genre bending road movie.

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NEXT EXIT

Profound and completely unexpected, Tribeca 2022 film Next Exit tackles suicide and the afterlife. I understand that sounds like an unimaginable task, but writer-director Mali Elfman skillfully crafts a nuanced take on guilt, shame, and regret. The “right to die” is front and center as the discovery that our souls linger on Earth with our loved ones changes the way people look at death. People now apply to enter the afterlife, each with a personal agenda. Program participants Teddy and Rose team up for what would be the road trip of a lifetime. 

Karen Gillan is in full Elizabeth Holmes vocal range as Dr. Stevensen. While we only see her in television clips, Whovians around the globe will be delighted by her presence. Our two leads, and program volunteers, are spectacular. Rahul Kohli plays Teddy. He oozes charm and sharp wit. Katie Parker is Rose. Her past, quite literally, haunts her. She’s a firecracker. Her chemistry with Kohli is electric. Formerly costars in The Haunting of Bly Manor, these two emotional disasters are the perfect pair. Kohli also reunites with iZombie costar Rose McIver as she plays Heather in the film. 

Danny Parker‘s song “Everything Will Change” plays over the credits and perfectly encapsulates the film’s aura. The tonal shifts in the script took me on a wild ride. Next Exit defies genre labels. Elfman melds regret, sadness, fear, and humor for a dark look at existence. I felt like I was in a strange therapy session as I watched. Next Exit is a beautiful balance of human experience and existential crisis. Tribeca audiences are in for surprisingly personal catharsis. 

Directed by Mali Elfman

Mali Elfman is a writer/director and BAFTA nominated producer. She’s written/directed four shorts; her latest Locker Room Z was released on Amazon and Alamo Drafthouse theaters. She’s produced many films including Karen Gillan’s The Party’s Just Beginning and Mike Flanagan’s Before I Wake. Next Exit is her feature film directorial debut.

DIRECTOR
Mali Elfman
PRODUCER
Mali Elfman, Derek Bishé, Narineh Hacopian
EXECUTIVE PRODUCER
Brett W. Bachman, Lindsay Helms, Joel Nevells
SCREENWRITER
Mali Elfman
CINEMATOGRAPHER
Azuli Anderson
COMPOSER
Ariel Marx
EDITOR
Brett W. Bachman
CO-PRODUCER
Lena Mesiano
CAST
Katie Parker, Rahul Kohli, Rose McIver, Karen Gillan, Tongayi Chirisa, Diva Zappa

Tribeca Film Festival 2022 review from Unseen Films: ‘Jerry and Marge Go Large’

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Jerry & Marge Go Large

After retiring Jerry feels lost. A mathematical genius he just wants to feel like he has a place. His wife doesn’t know what to do with him. While sitting having coffee he discovers that one of the lottery games has a legal loophole that assures a win under certain circumstances. After winning 15 grand his secret is discovered by his wife, who decides that they should be stupid together. Realizing that they can help their friends and family they form a corporation and start to make trips to Massachusetts to legally scam the system. All is good until a Harvard student realizes the trick too.

Sweet little film is almost certain to bring a smile to your face. It’s a lovely film about a man finally connecting with his friends and family. It’s a film full of great characters who you really like and want to hang out with. Yes, the plot is contrived, with the whole Harvard student rivalry feeling grafted on for suspense, but you won’t care.

The reason this film works as well as it does is the cast. Bryan Cranston is great going against type as a bookish guy with odd social skills. He is matched by Annette Bening who is radiant and makes it clear that she is madly in love and horny for her husband. ..AND YOU BELIEVE IT. We believe they are long-time lovers who have the love that you want. They are matched by Michael McKean, Ann Harada, Rainn Wilson, Anna Camp, and Larry Wilmore, all of whom you want to hug.

It may not be the greatest film ever but it’s a good time with great people.

See it.

Jerry & Marge Go Large is now available on Paramount+
DIRECTOR
David Frankel
CAST
Bryan Cranston, Annette Bening, Rainn Wilson, Larry Wilmore

Tribeca Film Festival 2022 review: ‘BODY PARTS’ is a cinematic sex education.

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BODY PARTS

I remember the buzz when Halle Berry reportedly got a half-million-dollar payday when she bared her naked breasts in Swordfish. I thought she was a total badass for demanding more money. It was as if a shift in the patriarchal Hollywood structure had been unlocked. Berry has since denied the payment, explaining that she was taking ownership of her body. Until then, audiences had become desensitized to women’s bodies as public currency. Tribeca 2022 audiences got a revelatory education in Kristy Guevara-Flanagan’s documentary, BODY PARTS.

The list of things I learned watching the doc is endless. Intimacy coordinators should be on every single set. I didn’t even know this occupation existed. I believe I audibly exclaimed, “Oh! Huh,” as I discovered the art of simulating oral sex. The technical aspects of intimate scenes are paramount to understanding how actresses should feel on a set. These scenes were enthralling for a performer and a writer like myself.

The power of female leads in the 20s and 30s got squashed by the introduction of the Hollywood Censors. These scenes shaped our perceptions of ourselves for decades and told us what intimacy “should” look like. That warped perspective has created generations of unhealthy relationships, unreported assaults, and continued abuse. This is not merely a film industry issue. We see men continue to be indoctrinated into believing they are entitled to women’s bodies. The social commentary on each era in relation to what was acceptable in cinema is ceaselessly fascinating. “Penises are pornography. Tits are art,” might be one of the most relevant comments in the entire film. The male gaze has dominated cinema since the very beginning. #MeToo and the prosecution of Harvey Weinstein ignited a shift in culture.

BODY PARTS is one of the Tribeca 2022’s best documentaries. The editing is a triumph. As figureheads speak, recreations and famous scenes throughout history play out, making the doc incredibly accessible to a wide audience, cinephiles and casual film fans alike. BODY PARTS is such a conversation starter. It’s nothing short of a Wow.

DIRECTOR
Kristy Guevara-Flanagan
PRODUCER
Helen Hood Scheer
CINEMATOGRAPHER
Frazer Bradshaw, Jason Joseffer
EDITOR
Liz Kaar, Anne Alvergue
COMPOSER
Nainita Desai
EXECUTIVE PRODUCERS
Ruth Ann Harnisch, Abigail Disney, Daniel Chalfen, Adrienne Becker, Roger Clark
CAST
Jane Fonda, Joey Soloway, Angela Robinson, Karyn Kusama, Rose McGowan, David Simon.

Tribeca Film Festival 2022 review: Perfectly titled, ‘A Matter Of Trust’ is one of this year’s best films.

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A Matter Of Trust

A young man outed by a classmate takes solace in his English teacher. 

A doctor honors her Hippocratic oath on a repatriation flight to Afghanistan. 

A mother and her daughter have a beach day. 

A newlywed couple attends a funeral. 

An Airbnb triste is interrupted by the owner of the home. 

We are humble witnesses to these tales. Tribeca 2022 film A Matter Of Trust will enthrall audiences. The film is challenging to describe because I want you to see it. Aptly titled, I want to you take my word that what you’ll see is extraordinary filmmaking. The multiple narrative structure keeps you engaged, but the writing and performances capture your full attention. The cinematography has an intrusive intimacy you cannot escape. The script burns itself into your brain with unexpected moments. Loaded with nuance, director Annette K Olesen and co-writer Maren Louise Käehne, present a shockingly honest portrait of humanity through five stories. A Matter Of Trust is undoubtedly one of the best films from this year’s festival. 

FEATURE | DENMARK | 105 MINUTES | DANISH | ENGLISH SUBTITLES
DIRECTOR
Annette K Olesen
PRODUCER
Jonas Frederiksen
SCREENWRITER
Annette K Olesen, Maren Louise Käehne
CINEMATOGRAPHER
Anders Nydam
COMPOSER
Kåre Bjerkø
EDITOR
Denniz Göl Bertelsen
EXECUTIVE PRODUCER
Bo Ehrhardt, Birgitte Hald
SOUND DESIGN
Mick Raaschou
ADD’L CREDIT 1
Mick Raaschou
LINE PRODUCER
Julie Carla Mortensen
ADD’L CREDIT 2
Julie Carla Mortensen
ADD’L CREDIT 3
Heidi Plugge Gustav Pontoppidan
PRODUCTION DESIGNER
Gustav Pontoppidan
CAST
Trine Dyrholm, Jakob Cedergreen, Sofie Juul Blinkenberg, Ellen Rovsing Knudsen, Morten Hee Andersen, Emil Aron Dorph

Tribeca Film Festival 2022 review: ‘Carol & Johnny’ – a dark fairy tale of love and bank robbery.

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CAROL AND JOHNNY

Tribeca 2022 documentary CAROL & JOHNNY tells the wild tale of crime and devoted love. How do one seemingly mundane husband and wife become the most notorious bank robbers of the early 90s? It’s one hell of a story.

Carol Hawkins Williams and Johnny Madison Williams meticulously planned each robbery like an honest-to-goodness business deal. Johnny’s role was to go inside, and Carol was the getaway driver. After each job, the nonchalant behavior they exhibited will make you smirk. Heading to Vegas to wash the stolen bills, they fined like kings and queens and had a good time. The film uses archival footage, personal photographs, courtroom drawings, and intimate sit-down interviews with Carol and Johnny in the flesh. Twenty-seven years after their conviction, these two lovely humans still love madly in love with one another. But don’t be fooled by the charming retelling of their shenanigans. The story evolves as director Colin Barnicle spends time with the pair individually. 

The doc genuinely delves into the why. Carol and Johnny’s childhoods informed their adult lives from start to finish. It’s easy to feel connected to our protagonists, hearing the physical and emotional abuse they endured. The film explores all the complex emotions involved. The darkness and messy parts of lovers torn apart for so long are on display. Coming to terms with reality is heartbreaking for the audience to witness. The slick and deliberate storytelling makes a ceaselessly intriguing watch. Go into the film without any preconceived notions. CAROL & JOHNNY is a different approach to the true crime genre. 

DIRECTOR
Colin Barnicle
PRODUCER
Barnicle Brothers with Words and Pictures
CINEMATOGRAPHER
Colin Barnicle
EDITOR
Colin Barnicle
EXECUTIVE PRODUCER
Nick Barnicle, Colin Barnicle, Connor Schell, Libby Geist, Aaron Cohen
CO-PRODUCER
Cora Atkinson
SUPERVISING PRODUCER
Julie Schapiro Thorman
CAST
Johnny Madison Williams, Carol Hawkins Williams

Tribeca Film Festival 2022 capsule reviews: ‘January,’ ‘The Year Between,’ and short film ‘Girls Night In’

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January

The visual aesthetic of Tribeca 2022 film JANUARY feels like it was actually filmed in 1991, using a mixture of super 8 footage, archival footage, and inspired cinematography. Performances are solid. The soundtrack is outstanding, highlighting gorgeous framing. The lack of urgency overall was challenging to overcome. I wasn’t sure if I felt connected enough to give a damn. This is from an arts academy grad. It was refreshing to see young female ambition in the character of Anna.

At the 52-minute mark, I was suddenly at attention. I wish this had come sooner in both the narrative and the score. Ultimately, January keeps your attention with its unique editing and intriguing, sometimes dizzying, cinematography. At times, I could not decern who was filming, whether it was archival or handheld footage from the cast. It’s a weirdly meta experience in that way. JANUARY is a coming-of-age story of a life torn between art and war.

The Year Between

Alex Heller wears all the hats in Tribeca 2022 film The Year Between. As a writer, director, producer, and star, she’s a spectacular nightmare. As Clemence, she is perfectly punchable. Even if it doesn’t sound like it, this is a compliment. As Clemence, she is a hellacious person. An entitled brat with zero social graces. Come to find out that she is undiagnosed bipolar. Through horrible life choices, Clemence slowly climbs her way out of her pity party to ingratiate herself into her family’s hearts. Navigating jobs, drugs, therapy, medication, relationships, and self-actualization, The Year Between goes hard in every aspect. Heller is unapologetic in style. The voice is loud and clear, and I look forward to what comes next.

Girls Night In

When a masked man threatens to ruin a girls’ night, Becca and Delaney attempt to best the intruder against all logic. This satirical short is an ode to the Bechdel Test and horror fans everywhere. Skylan Benton, as Delaney, is dressed similarly to Drew Barrymore in Scream and has an unmissable Alexis from Schitt’s Creek vibe going on in her tone. Becca (Jess Adams) is the more overtly cautious of the two girls, but everything changes, including her wardrobe, once challenged. Spot the cliché and hilarious quick-change by removing her glasses, a classic 90s reference. This is another example of how writer Landon LaRue and director Alison Roberto are true genre fans, beyond the lighting shifts and Davey Oberlin‘s throwback score. The addition of unapologetic Gen Z chatter infuses another layer of funny. Girls Night In will be a hit with not only horror fans but all Tribeca 2022 short film enthusiasts this year. 

 

Tribeca Film Festival 2022 capsule review: Midnight section ‘Attachment’ dazzles with its smart script.

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ATTACHMENT

New couple Maja and Leah battle terror and tradition when they move back into the same house as Leah’s Hasidic mother, Chana. Jewish mysticism takes center stage in this unique entry for Tribeca 2022 Midnight section. Is Chana an overprotective parent, or is something more sinister happening? Enter writer-director Gabriel Bier Gislason‘s Attachment. 

The writing is perfectly genius, as it disguises the mystery within the secretive nature of the religion. I watch a lot of horror, and Attachment had me on the ropes. I had no idea where this script would land. The language barrier raises the stakes, as important revelations become lost in translation, literally. Performances are spectacular and nuanced. The emotional journeys are lush. Their pasts slowly revealed create a genuine and curious bond. I could not take my eyes off the screen while watching Attachment, fearing I’d miss the smallest detail. Audiences will be hypnotized. 

FEATURE | DENMARK | 105 MINUTES | DANISH, ENGLISH | ENGLISH SUBTITLES
DIRECTOR
Gabriel Bier Gislason
PRODUCER
Thomas Heinesen
SCREENWRITER
Gabriel Bier Gislason
CINEMATOGRAPHER
Valdemar Winge Leisner
EDITOR
Nikoline Løgstrup
KEY CAST
David Dencik
US DISTRIBUTOR
Shudder
CAST
Josephine Park, Ellie Kendrick, Sofie Gråbøl, David Dencik

Tribeca Film Festival 2022 capsule review: ‘There There’ is a star-studded cinematic experiment.

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THERE THERE

Andrew Bujalski attempts to make a film where no actor ever actually appears in the same space as their scene partners. In year three of the pandemic, we’ve been watching cleverly shot movies made through zoom and phones. Despite the star power and phenomenal writing, There There falls flat. I never realized the emotional impact of a two-shot until I didn’t have any in a film. The musical transitions between vignettes performed by Jon Natchez made the flow even more disjointed. Admittedly, it took me until midway through the first scene between Lili Taylor and Lennie James to realize there were not in the same room. I cannot say the same for the next story in which Taylor and actress Annie LaGanga. The script is overlong, and the editing doesn’t help. The third story of a parent-teacher conference is, hands down, the most intriguing. As a former educator and current parent, I was squirming in my seat. It’s cringeworthy and brilliant. Jason Schwartzman reigns supreme in the way only Jason Schwartzman can in the subsequent two scenes. I’ll watch him do anything. Finally, we come full circle with Lennie James ladies man and Molly Gordan‘s teacher, decompressing from the day from hell. This editing is the best sleight of hand by a long shot. Performances across the board are outstanding. It is a cast from movie heaven. I feel compelled to reiterate that Bujalski’s concept of interconnected storytelling is slick and works 90% of the time. If There There were ever reshot with this cast in the same place at the same time, I would watch that version.

DIRECTOR
Andrew Bujalski
PRODUCERS
Houston King, Dia Sokol Savage, Sam Bisbee
SCREENWRITER
Andrew Bujalski
CINEMATOGRAPHER
Matthias Grunsky, BVK
COMPOSER
Jon Natchez
EDITOR
Andrew Bujalski
EXECUTIVE PRODUCERS
Greg Stewart, Jackie Kelman Bisbee, Cody Ryder, Lance Acord, Sam Slater
ASSOCIATE PRODUCER
Emily Da Silva Prado
CO-PRODUCER
Danielle Massie
CAST
Jason Schwartzman, Lili Taylor, Molly Gordon, Lennie James, Avi Nash, Annie LaGanga, Roy Nathanson, Jon Natchez

Tribeca Film Festival 2022 review: ‘DREAMING WALLS: Inside The Chelsea Hotel’

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DREAMING WALLS: Inside The Chelsea Hotel

The Chelsea Hotel was a bohemian enclave in New York City. Artists, movie stars, and musicians passed through the halls during the height of avant-garde Manhattan. Now, the remaining long-term residents of the hotel mingle within the current renovations, attempting to coexist amongst the chaos. 

The residents are an eclectic group of creators. Each possesses a unique story and a timeless aura about them. It just so happens that I know one of the artists and have a few of his pieces. A few years ago, Skye Ferrante (AKA Man Of Wire) recreated selected quotes sculpted from wire for each member of my family. They are one-of-a-kind creations. To watch him is to witness magic. Ferrante provides original and poetic voice-over passages of his own writing as we watch the chemistry between him and his models and his daughter. He is a snapshot, and one of the youngest, of the creative beings left behind.

Filmmakers Maya Duverdier and Amélie van Elmbt watch them maneuver within the halls and their respective spaces, listening to them recall their glory days and how long they think they can survive until renovations are complete. Their emotional attachments vary from apartment to apartment. Haunting footage of dark, cavernous hallways creates an eerie effect, while archival footage and audio layer on top of one another. It’s entrancing and a little rock ‘n roll. Tribeca 2022 audiences are in for a love letter and a history lesson in the form of a breathing time capsule. 

CAST & CREDITS

Directed by Amélie van Elmbt and Maya Duverdier

Amélie van Elmbt studied at the IAD Film School. In 2011, she directed her first feature film, Headfirst. Her second feature The Elephant & The Butterfly premiered at Tribeca. Maya Duverdier holds a master’s degree in film from École cantonale d’art de Lausanne. Dreaming Walls: Inside the Chelsea Hotel is her first feature-length documentary.

DIRECTOR
Amélie van Elmbt, Maya Duverdier
EXECUTIVE PRODUCER (MAIN CREDIT)
Martin Scorsese
PRODUCER
Hanne Phlypo, Quentin Laurent
CINEMATOGRAPHER
Joachim Philippe, Virginie Surdej
COMPOSER
Michael Andrews
EDITOR
Alain Dessauvage, Julie Naas
EXECUTIVE PRODUCER
Lori Cheatle
CO-PRODUCER
Frédéric de Goldschmidt, Simone van den Broek, David Herdies
US DISTRIBUTOR

Magnolia Pictures

To learn more about Tribeca 2022 click here!

Review: It’s man vs technology in the emotionally taut sci-fi ‘Guidance’

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GUIDANCE

Clever and thought-provoking, Guidance puts two lovers in a precarious position. In a near-future story, ten years after The Great War, new nanotech is on the precipice of introduction. In the form of a pill, the tech acts as a learning device and a lie detector. Han Miao and Mai Zi Xuan have secrets, making for an uphill battle to stay together after a weekend getaway. When you pit technology against human nature, which one claims victory? 

Sharp editing keeps the audience on their toes. Flashbacks slowly reveal information, but we’re never fully aware of the entire truth. The minimalist location pulls your focus to the camera work and the writing. It cannot be a coincidence that the house contains unobstructed, floor-to-ceiling windows and large-scale, threadbare concrete walls when the plot focuses on transparency. The script has Han Miao and Mai Zi Xuan attempting to subvert the tech to keep their secrets. The emotional manipulation is wild. The weight of trauma bonding is also front and center. Boasting fantastic performances, Guidance is a rollercoaster. The screenplay will keep you guessing until the very end. Do not get comfortable. Add all these excellent elements together you’ll discover a carefully crafted film. A complex morality tale that begs your attention, Guidance is endlessly compelling. 

GUIDANCE will be released in the US, Canada, UK, Australia, and major territories Worldwide on VOD on June 17

Director: Neysan Sobhani

Cast: Sun Jia (Han Miao), Harry Song (Mai Zi Xuan) and Francesco Chen (Su Jie)

Tribeca Film Festival 2022 review: Director Floor Van Der Meulen receives special mention with the Best New Narrative Director Award for ‘PINK MOON’

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PINK MOON

Iris (Julia Akkermans) and her older brother Ivan (Eelco Smits) are faced with life-altering news when their father (Johan Leysen) decides to end his life. Iris is confused, devastated, she tries to be a little accepting.. It seems like her father is never been more sure with anything in his life, and that leaves Iris in an emotional shamble.

Tribeca 2022’s award-winning film Pink Moon will undoubtedly strike a chord with Gen X. We currently exist between aging parents and parenthood. Mortality has weighed heavy in recent years. No one gazes into the future to imagine the death of their Mom or Dad, so to be told that death is a choice is an entirely new level of madness. In Pink Moon, Iris and Ivan take two different approaches to their father’s declaration that he is “done living.” Ivan is practical, almost emotionless. Iris, understandably, pushes back with unsurmountable sadness. Doing everything in her power to change his mind, Iris takes leave from work, pretending to plan his final day, only to ditch the plan and kidnap him for one last hurrah. Pink Moon slowly delves into the complex relationship between children and parents. Actress Julia Akkermans tackles the script by Bastiaan Kroeger with humor and heart. Watching her emotional journey unfold feels palpable and grounded from start to finish. To think that this is the directorial debut for Floor van der Meulen blows my mind. I cannot wait to see what comes next. Audiences can watch the film on Tribeca 2022’s At Home option. The film dives into universal truths that will touch the coldest of hearts. I highly recommend you give Pink Moon your full attention. 

Available Starting

Wed June 15 – 6:00 PM

At Home

BUY NOW

 

DIRECTOR
Floor van der Meulen
PRODUCER
Derk-Jan Warrink, Koji Nelissen
SCREENWRITER
Bastiaan Kroeger
CINEMATOGRAPHER
Emo Weemhoff NSC
EDITOR
Mieneke Kramer
CAST
Julia Akkermans, Johan Leysen, Eelco Smits, Anniek Pheifer, Sinem Kavus

 

Tribeca Film Festival 2022 review: ‘An Act Of Worship’ is required viewing.

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An Act Of Worship

Reenactments, sit-down interviews, home videos, photos, and intimate storytelling, Tribeca 2022 feature documentary An Act Of Worship highlights the continued pain and persecution of Muslims in America. Thirty years of pivotal historical trauma shape the community, as told through three female activists and those around them. 

The doc addresses the highs and lows through the lens of personal identity from Oklahoma City to the election of President Obama. His presidency felt like a bait and switch. Then came Trump, and we’re all still reeling from that atrocity. 

The continued trauma permeates everyone who practices Islam. The film does not shy away from the implicit bias we’ve come to acknowledge only recently. It addresses racism head-on with honesty. Imagine if the NYPD monitored Christian charities, households, and churches the same way they harass Muslims. White people would lose their minds. 

Hearing the emotional impact on Muslims is undeniably powerful. Listening to these vibrant and hopeful young people alongside their parents is enlightening. These are the stories we must hear in order to connect new generations and old generations. 

I attended Catholic school from first to eighth grade. I am now an agnostic because of this. But, I distinctly remember my father encouraging me to explore other religions if I felt I needed to. I firmly believe that students in the United States should learn about every religion, its origins, and its belief structure to quell fear based on ignorance or propaganda. Multicultural panels and open discussions are imperative to understand that we’re more alike than different, as cliche as it sounds. An Act Of Worship is undeniably a beautiful and important conversation starter. We need more films like this.

Running Time: 83 Minutes

Language: English, Arabic Country: USA

BUY NOW

DIRECTOR
Nausheen Dadabhoy
PRODUCER
Sofian Khan, Kristi Jacobson, Heba Elorbany
CINEMATOGRAPHER
Nausheen Dadabhoy
COMPOSER
Mary Kouyoumdjian
EDITOR
Ben Garchar

Tribeca Film Festival 2022 review: Peter Dinklage tackles real estate and relationships in ‘American Dreamer’

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Tribeca Film Festival 2022AMERICAN DREAMER

American dreamer Tribeca Film Festival 2022

There’s something about Peter Dinklage that makes him a brilliant leading man. Tribeca 2022 film American Dreamer is another example of his ability to captivate on screen. In Paul Dektor‘s feature directorial debut, Dinklage plays adjunct social economics professor and lecturer Dr. Phil Loder. As he speaks eloquently to his students, we witness a sly Indian Jones hommage from the front row. Perusing real estate porn, as so many of us do regularly, Phil is serious about finding his slice of heaven and stability in his career. Chasing tenure and respect, he stumbles across a deal in the classifieds that seems too good to be true. With the assistance of his smarmy real estate agent, played to perfection by Matt Dillon, Phil purchases an enormous estate. But there is a catch. His contract contains a “live-in” clause for the previous owner. 

Phil has sold his soul to a woman named Astrid. Thought to be on her deathbed, unpredictable circumstances lead Phil to hire a private detective (Danny Glover) while navigating a complicated relationship with Astrid and her skeptical daughter Maggie. The script dives into the mythic “American Dream” and what that means to each of us. Screenwriter Theodore Melfi allows MacLaine and Dinklage to do their proverbial thing. I was hypnotized by the ease of their scenes together. 

Shirley MacLaine brings her truest form with sass and spitfire. Her ability to make you smirk and piss you off is a gift. She’s a legend, and Dinklage keeps pace at every turn. Peter Dinklage has mastered the art of charming his costars and the audience. After watching him in Cyrano, his sex symbol status became solidified. In American Dreamer, Melfi and Dektor allow him to woo in only the way Peter can woo. Picturing him as a man that constantly has women in the palm of his hand is sheer perfection. His comic timing is unmatched. The magic permeates throughout his fully fleshed-out portrayal of a flawed man.

American Dreamer wins with a great score and soundtrack, stunning locations, funny fantasy sequences, and some clever transitions in the form of novel chapters. I had no idea where this plot was going, and damnit, that’s rare. It is easy to say that it is one of my Top 3 films from the festival this year. I cannot wait for larger audiences to experience this beguiling comedy when it inevitably gets distributed. You’re gonna love it.

Now in theaters!

Fri June 17 – 3:00 PM

Village East by Angelika: Theater 3

RUSH
DIRECTOR
Paul Dektor
PRODUCERS
Toyo Shimano, Emily Shimano, Theodore Melfi, Kimberly Quinn, Peter Dinklage, David Ginsberg, Paul Dektor
SCREENWRITER
Theodore Melfi
CINEMATOGRAPHER
Nicolas Bolduc
EDITOR
Lisa Robison
COMPOSER
Jeff Russo
EXECUTIVE PRODUCER
Kevin Root
ASSOCIATE PRODUCERS
Trisha Wilson, Dylan Collingwood
CAST

Peter Dinklage, Shirley MacLaine, Matt Dillon, Danny Glover, Kimberly Quinn, Danny Pudi, Michelle Mylett

For all things Tribeca Film Festival, click here!

Tribeca Film Festival 2022 review: ‘LIFT’ is an education and a celebration.

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LIFT

Director David Petersen takes audiences on a journey that spans ten years. In his documentary LIFT, he tells the world about the brilliant and titular program here in New York City that revolves around the art of dance. “New York Theatre Ballet’s LIFT Community Service Program provides scholarships for talented at-risk and underserved children at the School of NYTB, as well as programs that champion dance for the greater good.” Housing insecure youth have the opportunity to break free from the circumstances they cannot control. Steven Melendez once lived in a shelter. As a professional dancer and former student of the program, he returns to introduce ballet to other housing insecure children. The discipline and structure that comes along with ballet transcend the stage. It is vital for kids in school or home environments that would otherwise make them victims of socioeconomic circumstances. The purpose of LIFT is to provide a safe place for them to learn and grow. It is a beautiful safety net, but they have to be willing to commit. These kids have so many obstacles in their paths, and Steven does everything he can to push past his own trauma to better the lives of kids just like him.The documentary follows a small group of kids that Steven nurtured over ten years of ballet. Tough love is necessary as these kids get into trouble. Steven does not have time to mince words. It is the honesty they need to survive and a place to put all their unbridled emotions. The culmination of the film arrives with one special performance. Steven creates a new piece of choreography based on his experiences and those of his handpicked students, and my god, it is a revelatory dance. This choreography is therapy. This choreography is healing. This choreography is lifesaving. Steven knows it, and as the credits roll on LIFT, Tribeca 2022 audiences will know it, too.

Available Starting

Tue June 14 – 6:00 PM

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RUSH
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DIRECTOR
David Petersen
PRODUCER
Mary Recine, David Petersen
CINEMATOGRAPHER
Gary Griffin, Alan Jacobsen, David Petersen
COMPOSER
Kathryn Bostic
EDITOR
M. Watanabe Milmore, David Petersen
EXECUTIVE PRODUCER
Jody Allen, Sam Pollard, Jannat Gargi, Ruth Johnson, Rocky Collins
ASSOCIATE PRODUCER
Laura Pilloni
CO-PRODUCER
Martha Southgate, Laura Pilloni
PRINCIPAL ADVISOR
Misty Copeland
ADVISOR
Lourdes Lopez, Wendall Harrington, David Lansky, Nan Roman
CAST
Steven Melendez, Diana Byer, Victor Abreu, Yolanssie Cardona, Sharia Blockwood

Tribeca Film Festival 2022 review: ‘My Love Affair With Marriage’ is an animated handbook to the complexities of female existence.

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My Love Affair With Marriage

From an early age, songs and fairytales convinced Zelma that Love would solve all her problems as long as she abided by societal expectations of how a girl should act. But as she grew older something didn’t seem right with the concept of love: the more she tried to conform, the more her body resisted. A story about the acceptance of the inner female rebellion.

A musical evolution of one girl’s journey into womanhood, navigating every cliché influence thrown at her from birth. 2D and stop motion animation illustrate Zelma’s life and thoughts. The film charms you with a mix of science and storytelling. Zelma narrates her journey like diary entries performed at a read-aloud. They are honest, funny, and universally relatable. Viewers will grin from ear to ear and nod knowingly. “Biology” explains how Zelma’s chemistry simultaneously affects her actions and reactions. 

The musical numbers are snappy and frequent. The lyrics allow those clichés to become confessions of the ridiculous patriarchal structures. They are predominantly performed by three women, akin to muses, following Zelma through life. The nonsensical expectations of society, combined with the hardwiring of a woman’s brain, create an incredible insight into our behavior. 

I am a big fan of Signe Baumane‘s film Rocks In My Pockets. I was delighted to see My Love Affair With Marriage on Tribeca 2022 slate. This film is something special. It’s unafraid to reveal our innermost thoughts, fears, hopes, regrets, mistakes, and dreams. It celebrates unfiltered authenticity with clever writing and delightful visuals. It’s an outstanding feminist film that will undoubtedly win over audiences everywhere. 

https://www.tribecafilm.com/films/my-love-affair-with-marriage-2022

RT: 107 minutes

Sunday, 06/19/2022, 4:00 PM at VEC-05 – 3rd Screening

Director & Screenwriter: Signe Baumane

Cast: Dagmara Domicnik (“Succession,” “We Are The City”), Matthew Modine (“Stranger Things”), Emma Kenney (“Shameless,” “The Conners”), Cameron Monagha (“Shameless”) and Stephen Lang (Avatar 1-4)

Producers: Roberts Vinovskis, Sturgis Warner, Signe Baumane, Raoul Nadalet

Executive Producers: Matthew Modine, Adam Rackoff, John Jencks

Tribeca Film Festival 2022 review: ‘CHERRY’ slides by with authenticity.

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CHERRY

Stunted adult Cherry discovers she’s pregnant and has 24 hours to decide whether or not to go through with an abortion. The film counts down the day one hour at a time while she encounters all the people in her life; bosses, coworkers, doctors, her boyfriend, and her family. Cherry is a master of bad decisions. Now, it’s time to grow up. 

Alex Trewhitt brings flighty and raw energy to the titular role. She’s comfortable in her skin, and the camera loves her. Her nonchalance compels you to invest in Cherry’s wellbeing, whether because you’re disappointed in her or because you relate. Trewhitt leans into Cherry’s flaws, embodying the coming-of-age spirit of the film.

The handheld camera work works perfectly for this anxiety-ridden, real-time storytelling. The momentum seems to lull about halfway in, particularly when Cherry arrives home. But, writer-director Sophie Galibert, who co-writes with Arthur Cohen, has a clear vision of the weight of such a decision. I would gladly see what she has up her sleeve next. If you put the film into personal context to realize where you were at 25, Cherry nails it with a messy authenticity. Did Cherry make me want to buy a new set of rollerskates at 42 years old? Absolutely. 

To find out more about Tribeca 2022 and how to watch CHERRY, click here!

DIRECTOR
Sophie Galibert
PRODUCER
Sophie Galibert, Shincy Lu, Philippe Gompel
SCREENWRITER
Sophie Galibert, Arthur Cohen
EXECUTIVE PRODUCERS
Sophie Galibert, Matthew Michel, Jacqueline Garcia Ortega
CINEMATOGRAPHER
Damien Steck
COMPOSER
Clémentine Charuel
EDITOR
Camille Delprat
ASSOCIATE PRODUCER
Alexander Akoka, Clara Sansarricq, Arthur Cohen
CO-PRODUCER
Cameron Holly Dexter
COLORIST
Lionel Kopp
CASTING DIRECTOR
Jasmine Gutierrez
PRODUCTION DESIGNER
Yuelin Zhao
COSTUME DESIGNER
Gigi Harding
MUSIC SUPERVISOR
Roxanne Oldham
CAST
Alex Trewhitt, Joe Sachem, Dan Schultz, Sandy Duarte, Alice Bang, Hannah Alline, Melinda DeKay, Angela Nicholas, Charlie S. Jensen, Darius Levanté

Tribeca Film Festival 2022 review: Travis Stevens’ latest genre fare ‘A Wounded Fawn’ is… different.

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A WOUNDED FAWN

I must admit that I might be one of the biggest Travis Stevens fans. His aesthetic gets me every time. The boundary-pushing in sound editing, practical FX, and color saturation are things of beauty. The man knows how to write iconic feminist leads. Understanding how much I love Girl On The Third Floor and Jakob’s Wife is paramount. His latest film premiering at Tribeca 2022 is called A Wounded Fawn, and it pains me to say it confounds me. Let me explain.

The first half, or Act One, as indicated by a dramatic and beautiful bright red title card, is classic throwback magic, dirt filter included. Going into the film, we understand the setup. Bruce is a suave art dealer who invites gallery curator Meredith away for the weekend at his secluded cabin. From the second scene, we know that Bruce is also a serial killer, and poor Meredith is about to be added to his “special” collection. The opening of the film features a specific sculpture of Greek mythology. That piece will come to haunt our characters in a very literal way. 

First, let’s talk about the best parts of the film; the performances. Sarah Lind (Jakob’s Wife) and Josh Ruben knock it out of the park. Lind navigates the cringe and slyly aggressive overtures of Ruben’s Bruce. She walks an incredible line between submissive and badass. Her fight or flight instincts will have you yelling at the screen. Ruben, whose film Werewolves Within is one of my favorites from last year’s Tribeca Film Festival, owns this role. He’s creepy as fuck. There’s no other way to describe his nature. Bruce is peak Stevens’ calling card. Ruben doesn’t play the over-the-top premise for laughs but lives in the madness. I sat through the credits and relished in his endurance of that take. When you see it, you’ll understand what I mean. 

Now, let’s discuss Act Two. I found myself confused during this act. I thought maybe I was missing something, or it was over my head somehow. But, no, it’s meant to be a Greek tragedy akin to Agamemnon or Hippolytus. The film is such a departure from Stevens’ first two films that it’s hard to believe they’re by the same person. Can I respect that he’s trying something new? Yes. Did I love the dozen or so specific visuals in red? Absolutely. Was the hyper-augmented sound editing fucking stellar. You’re goddamn right. The payoff of the final laugh-out-loud line of dialogue wasn’t enough to make up for the second half of the film. A Wounded Fawn most definitely lives up to its Midnight section category. It’s the type of film you’d find in the late 70s at a theatre that exclusively shows cult films in the wee hours of the morning. Yet, here I am, needing to talk about the film ad nauseum. For that reason, Travis Stevens has, sort of, done it again. 

The find out more about Tribeca Film Festival 2022 click here!

DIRECTOR
Travis Stevens
PRODUCER
Joe Barbagallo, Laurence Gendron, Travis Stevens
SCREENWRITER
Travis Stevens, Nathan Faudree
CINEMATOGRAPHER
Ksusha Genenfeld
EDITOR
Zach Clark, Travis Stevens
COMPOSER
Vaaal
EXECUTIVE PRODUCER
Melissa Rossaki, Emily Gotto
CO-PRODUCER
Jonathan Hsu
US DISTRIBUTOR
Shudder
CAST
Josh Ruben, Sarah Lind, Malin Barr, Katie Kuang, Laksmi Hedemark, Tanya Everett, Marshall Taylor Thurman, Leandro Taub, and Neal Mayer

Tribeca 2022 review: ‘FAMILY DINNER’ is a recipe for disaster, and that’s what makes it delicious.

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FAMILY DINNER

One of Tribeca 2022 Midnight selections features the sickest fad diet you could ever imagine. When Simi joins her famous nutritionist aunt for the Easter holiday, the tension in the house boils over almost immediately. Simi, an overweight 15-year-old girl, seeks approval and guidance, but things do not go according to plan. Family Dinner is a film that slowly and deliberately crawls under your skin.

Michael Pink creates a lecherous character arc for Stefan. His presence made me shudder with each appearance. Alexander Sladek gives relentless nuance to the role of Filipp. Displaying all the characteristics of a serial killer, what lies beneath the surface is even more disturbing. Sladek is unnerving.

Pia Hierzegger plays Auntie Claudia with an energy that is powerful and scary. The head of the household in every way possible, Hierzegger is astounding. Nina Katlein is spectacular as Simi. Despite every red flag, the bravery in Katliein’s eyes is shocking. Writer-director Peter Hengl’s script allows Simi to be a feminist icon.

The complexity of this script kept me guessing from beginning to end. Just when I thought I’d figured out what was going on, another twist. Much like in the films A Banquet and Honeydew, the preparation and consumption of food become weaponized. The infantilization between mother and son sent shivers down my spine. It is an added layer that compounded my unending distress. If you follow the proverbial breadcrumbs, the finale feels like a natural endpoint to a series of microaggressions that become exponentially more horrendous. Family Dinner had my heart in my throat with bona fide fear. Tribeca audiences are in for a frightful treat.

For more information on Family Dinner and the full Tribeca 2022 experience, click here:

https://tribecafilm.com/films/family-dinner-2022

Tribeca Film Festival 2022 review from Unseen Films: ‘BLAZE’

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BLAZE

After accidentally witnessing a violent crime, a young girl is left catatonic with shock, and struggles to make sense of what she saw, ultimately finding renewal in the inestimable world of her own imagination.

It is a  brilliantly made, beautifully acted film that is an excellent exploration of dealing with trauma. I applaud the filmmakers for making a film that deals honestly with the subject and doesn’t make it so everything instantly goes away in 90 minutes.

That said, we have to talk about the opening.

I am being more forthcoming than the promotional material for the film in that I am telling you our right that the terrible thing mentioned in the promotional material is a sexual assault, I am also warning you that it is really brutal.  While I hate warning audiences this time there should have been a warning on the content before going in – especially since some write-ups mention the film being about a girl and her invisible dragon- which many, myself included, made us think slightly lighter fare.

I mentioned this because I have friends who are victims of sexual assault and watched them walk out after discovering a film or play not knowing the subject matter. I have a day job where I have come into contact with survivors and I have seen them triggered by off-handed mentions of their own or another’s assault.  I have been yelled at by friends for not mentioning lesser assault in a film recommendation, so despite the filmmaker’s desire that audiences not be told and discover the event on their own, I am warning you.

Critically the assault raises an important question about the structure of the film in that there is no constructive need for us to witness the whole thing when our heroine does not. She only peaks at the rape, hiding behind a tree and listening to what she can hear over the sound in her headphones. There is no rational reason for us to see the rape in detail from multiple angles other than the creating of a head space, which ends up being overdone since the rape hangs over the film. Think about it- I am talking about the start of the film despite the ending being hopeful.

In an age where we label what is in the film, there was, as of this writing (June 3) no warning anywhere. There should be one. More so since I know other festivals such as Sundance and SXSW earlier this year had warnings on films that were much less jarring.

And no I am not big on trigger warnings but this film really requires one- even if my calling for one may make you think it’s not as bad as all that- because someone is not going to get the memo.

Warning given the film is gorgeous and amazingly well made (dare I say it could be called a great film), but everything is colored by the rape and as such, I don’t want to discuss it.

You’re on your own

For more Tribeca coverage from Unseen Films click here!

Remaining screenings:
Fri June 10 – 5:45 PM

Cinépolis: Theater 5

Fri June 17 – 8:00 PM

Village East by Angelika: Theater 2